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Jon Lord - Gemini Suite (1971/2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Jon Lord (1941-2012)
Artist: Jon Lord, Tony Ashton, Yvonne Elliman, Roger Glover, Albert Lee, Ian Paice, London Symphony Orchestra, Malcolm Arnold
Title: Gemini Suite
Genre: Rock, Symphonic Rock, Hard Rock
Label: © Edel Germany GmbH. earMUSIC is a project of Edel
Release Date: 1971/2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: Qobuz
Duration: 00:47:42
Recorded at Abbey Road and De Lane Lea studios, London, March 1971; Remastered by Rob Cass

After the 1969 classical / rock fusion Concerto for Group and Orchestra, Jon Lord was commissioned to write a follow-up. This was Gemini Suite, five long movements inspired by the members of Deep Purple, and performed live in September 1970 at the Royal Festival Hall with The Light Music Society Orchestra (the album of the concert was issued in 1993 as Gemini Suite Live). Jon Lord then recorded it in the studio as his first solo project in 1971, with the London Symphony Orchestra conducted by Malcolm Arnold and soloists drawn from the rock world. Gemini Suite was an important step for Lord and led to albums such as Windows (1974) and Sarabande (1976).
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John Taylor Trio - Decipher (1973/2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: John Taylor Trio
Title: Decipher
Genre: Jazz, Post Bop, Hard Bop, Mainstream Jazz, Piano Jazz
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1973/2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: highresaudio.com
Duration: 00:36:24
Recorded: 1972–1973 at MPS Studio, Villingen

“…one of contemporary jazz’s great performers…” so reads the prestigious Guardian newspaper’s assessment of English pianist John Taylor. As house pianist at London’s legendary Ronny Scott’s jazz club, Taylor accompanied many of the icons of jazz, and in so doing honed his individual style into what became one of the most important voices on the European jazz scene. The gigs and recordings of his own groups, his long-time association with trumpeter Kenny Wheeler, his many ECM trio recordings with Peter Erskine and Palle Danielsonn and groups lead by the likes of Jan Garbarek and John Surman established Taylor’s importance. Taylor’s 1973 MPS trio album Decipher features two top players, bassist Chris Laurence and drummer Tony Levin, who perfectly compliment Taylor’s wide-ranging style on an album that offers the listener a delicious taste of his compositions. The virtuoso sprint of Cipher melds into the varying tempos and emotions of Wait For Me, whereas Leaping is a pointillist abstract exchange between the three. The emotive jazz waltz Speak to Me plays some magical slight-of-hand with the time, and Song For a Child sings out as a soft-spoken ballad. White Magic powers through as a hard-swinging elixir for all that ails. Taylor’s second album as leader presents a master composer/player at full maturity – what a joy that this music is available once again.
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John Barry - Great Movie Sounds of John Barry (1966/2016) High-Fidelity FLAC Stereo 24bit/192kHz

Artist: John Barry
Title: Great Movie Sounds of John Barry
Genre: Pop, Stage & Screen, Soundtrack, Movie Themes
Label: © Columbia Records, a Division of Sony Music Entertainment
Release Date: 1966/2016
Quality: High-Fidelity FLAC Stereo 192kHz/24bit
Source: HDTracks
Duration: 00:38:29

“Great Movie Sounds Of John Barry” featuring the music from James Bond films and one with selections from other key Barry-scored movies including The Knack…And How To Get It, Born Free, The Ipcress File and Seance On A Wet Afternoon.

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Johann Johannsson - Arrival (2016) High-Fidelity FLAC Stereo 24bit/48kHz

Сomposer: Jóhann Jóhannsson
Artist: Jóhann Jóhannsson
Title: Arrival
Genre: Soundtrack
Label: © Paramount Pictures/Deutsche Grammophon
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: HDTracks
Duration: 00:56:20

Deutsche Grammophon is excited to announce the 11 November release of Arrival (Original Motion Picture Soundtrack) via Universal Music Canada, the country’s leading music company, with music composed and produced by Jóhann Jóhannsson, whose DG debut – Orphée, an exploration of the Orpheus myth and Jóhannsson’s first studio album in six years – is released on 16 September. The Paramount Pictures film Arrival, which premieres today at the Venice Film Festival, is the composer’s third cinematic collaboration with French-Canadian director Denis Villeneuve, following on from last year’s crime thriller Sicario, which garnered Jóhannsson an Oscar nomination for best original score. As recently announced, their next joint project will be the much anticipated sequel to the legendary science fiction film Blade Runner.
Arrival stars Amy Adams, Jeremy Renner and Forest Whitaker, Adams playing the lead role of a linguist who attempts to communicate with the alien intelligence controlling a fleet of spacecraft that has suddenly and ominously appeared at sites all around the globe. As mankind teeters on the brink of global war, she and her team embark on a race against time to find out why these craft have come to earth. More than a conventional sci-fi thriller, this is a thoughtful, intellectual drama with a genre twist. “Arrival is a very unique science fiction film and I decided early on that the human voice would feature prominently in the score,” says Jóhannsson. “It seemed a natural choice, given that the story is very much about language and communication.”
Jóhannsson worked with several singers and vocal ensembles and combined both classical and avant-garde elements in his compositions, augmenting his already unique approach of combining orchestral writing with digital sound processing. Among those appearing are the prestigious Theatre of Voices, conducted by Paul Hillier, and artists such as Robert Aiki Aubrey Lowe and Hildur Guðnadóttir, known for their unique musicianship. Jóhannsson also integrated some “found sounds” from the legendary avant-garde vocalist Joan La Barbara into his score. The soundtrack was recorded in Prague, Copenhagen and his native Reykjavik.
“I basically had carte blanche to experiment musically and sonically in creating this unique sound world,” explains Jóhannsson. “Denis and I have developed a trust where we can work together in a very collaborative way.” He sent some early thematic ideas to Villeneuve during pre-production, based on tape-loop experiments, which were partly inspired by the Ted Chiang short story on which the film is based. Villeneuve responded strongly to one of these thematic ideas and asked Jóhannsson to expand on it. That track eventually became one of the signature motifs of the score. Jóhannsson’s rough cuts were also played on set in Montreal, inspiring the cast and playing a part in determining how certain sequences were shot, his music conjuring Villeneuve’s otherworldly atmosphere to perfection, as the director explains: “I heard the first notes of Arrival’s music before shooting. Jóhann had composed the haunting and hypnotic score for Louise’s first glimpse of the spaceship. I remember being in awe listening to it. A fantastic and inspiring piece. Like music from above. I shot Arrival listening to Johann’s score. His music influenced the whole process and I think moviegoers will once again be blown away by his unique approach to cinematic music.”
Arrival (Original Motion Picture Soundtrack) features the complete scored music from the film. Jóhannsson has composed and produced an accompaniment to the narrative arc that is sometimes menacing – drone-like themes are a hallmark of his work – and always compellingly atmospheric. From the title track Arrival to pieces entitled First Encounter, Ultimatum and Properties of Explosive Material, his score masterfully underlines the tension, power and subtlety of one of the most original science fiction films to appear in years.
Arrival will have its European premiere at the Venice Film Festival on 1 September and its North American premiere on 11 September at the Toronto International Film Festival. Arrival (Original Motion Picture Soundtrack) will be released by DG/UMC on 11 November to coincide with the film’s North American theatrical release.
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Jim Black Trio - The Constant (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Artist: Jim Black Trio
Title: The Constant
Genre: Jazz, Modern Jazz, Contemporary Jazz, Piano Jazz
Label: © Intakt Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: HDTracks
Duration: 49:38
Recorded and mixed by Amandine Pras at Water Music, NJ on December 9, 10, 11, 2015

Since the nineties, the drummer and bandleader Jim Black has been one of the most influential figures of progressive jazz. On his Intakt Records debut, Jim Black plays with the acclaimed young pianist Elias Stemeseder and highly in-demand New York bass player Thomas Morgan contemporary jazz with distinctive arrangements, complex rhythms and expressive improvisations.

Hank Shteamer writes in the linernotes: "The Constant, a suitelike collection of 10 new pieces, is a meditation on song – a celebration of plain-spoken melody but also an interrogation of the fragility of musical order. The Constant is a narrative of competing currents. On one hand, there is melody, most prominently a wistful, winding line that appears in opening track "High" and reoccurs throughout the album. As "High" begins, we hear Morgan dreamily plucking out this theme. The drummer, using brushes, adds whispering free-time textures, while the pianist makes his own way toward the motif. But there is also a gentle turbulence at work – a sense of the elusiveness and instability of song."
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Jiggs Whigham - Values (1971/2015) High-Fidelity FLAC Stereo 24bit/88,2kHz

Artist: Jiggs Whigham
Title: Values
Genre: Jazz, Soul Jazz, Fusion, Modal, Bossa Nova, Swing
Label: © MPS - Musik Produktion Schwarzwald | Edel Germany GmbH
Release Date: 1971/2015
Quality: High-Fidelity FLAC Stereo 88,2kHz/24bit
Source: highresaudio.com
Duration: 00:38:48
Recorded: March 1971 at MPS-Tonstudio, Villingen

Born in Cleveland Ohio in 1943, Jiggs Whigham began playing professionally at 17; by the age of 20 he occupied the first trombone chair with Stan Kenton, moved onto Maynard Ferguson’s band, and then to Cologne Germany in 1965 where he immediately found work with Kurt Edelhagen’s popular big band. Jiggs went on to become an international name, both as a player and as an educator – his playing credits read like a telephone book of jazz greats from Cannonball Adderley to Joe Zawinul. The crack quartet on this 1971 album includes the Swiss jazz pioneer, pianist George Gruntz and the quality bass and drums of Austrian great J. A. Rettenbacher and American Tony Inzalaco. Everyone gets a say on the urbane up-tempo Values, as Jiggs electronically divides his playing into two octaves and Gruntz solos on electric keyboard. The group composition Result wends its way down its modal path led by Jigg’s crystal-clear tone – sparkling bass and piano solos on this acoustic gem. The rocking blues Dance of the Magic Eggs has the band back in electric mode with Jigg’s funky synth solo, along with e-bass and e-piano. The band takes a warm, relaxed Brazilian detour on Gemini Samba, and then journeys home to a lush, soulful version of Am I Blue, the song first made famous by Ethel Waters, and covered by everyone from Billy Holiday to Cher. Jiggs is a minor-key modal tour de force, highlighted by Whigham’s passionate synth-enhanced solo. One of Jigg’s best recordings.
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Jennifer Koh - Bach and Beyond Part 2 (2015) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Johann Sebastian Bach (1685–1750), Béla Bartók (1881-1945), Kaija Saariaho (b. 1952)
Artist: Jennifer Koh
Title: Bach and Beyond Part 2
Genre: Classical
Label: © Cedille Records
Release Date: 2015
Quality: High-Fidelity FLAC Stereo 44.1kHz/24bit
Source: cedillerecords
Duration: 01:31:18
Recorded: Saariaho recorded April 20-21, 2014 at Westchester Studios, NY; Bach recorded June 4-5, June 10-12, 2014 at The Performing Arts Center, Purchase College/SUNY; Bartok recorded July 14-16, 2014 at The Performing Arts Center, Purchase College/SUNY


Violinist Jennifer Koh’s Bach & Beyond Part 2 is the newest installment in a three-CD cycle based on her groundbreaking, multiyear recital series of the same name. Koh, “a masterly Bach interpreter and a champion of contemporary repertory” (The New York Times), performs J. S. Bach’s landmark violin Sonatas and Partitas alongside 20th and 21st century solo violin works they’ve inspired, including new commissions.
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Jean-Michel Jarre - Rendez-Vous (1986/2015) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Jean-Michel Jarre
Title: Rendez-Vous
Genre: Electronica, New Age, Ambient, Synthpop, House, Techno, Avant-Garde, Progressive Electronic
Label: © Sony Music Entertainment
Release Date: 1986/2015
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Qobuz
Duration: 00:35:09

Rendez-vous is the eighth studio album by electronic musician and composer Jean-Michel Jarre released on Disques Dreyfus, licensed to Polydor, in April 1986. It sold some three million copies worldwide and remains Jarre's longest-running chart album in both the U.S. and UK, with a 20-week run in the U.S. and an impressive 38 week run in the UK. The album art of the album was created by long-time collaborator Michel Granger.
The last track on the album was originally scheduled to include a saxophone part recorded by astronaut Ron McNair on the Space Shuttle Challenger, making it the first piece of music to be recorded in space, but on 28 January 1986, 73 seconds after lift-off, the shuttle disintegrated and the entire Challenger crew were killed. The track was dedicated to McNair and the other astronauts on board Challenger. On the album the saxophone part is played by saxophonist Pierre Gossez.
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Jean-Michel Jarre - Oxygene Trilogy (2016) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Jean-Michel Jarre
Title: Oxygene Trilogy
Genre: Electronic, Avant Garde, New Age, Experimental, Progressive Electronic
Label: © Sony Music Entertainment Germany GmbH
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Qobuz
Duration: 02:40:34

The OXYGENE-Trilogy consisting of the albums OXYGENE 1, OXYGENE 2 and OXYGENE 3. Within the framework of the Trilogy the masterpiece OXYGENE 2 is again available in the original.
40 years after the huge international impact of OXYGENE, and 20 years from it's second volume OXYGENE 7-13, Jean-Michel Jarre is fulfilling a trilogy of albums with OXYGENE 3, containing seven newly composed and recorded pieces, consistently titled parts 14-20. His inspiration for the newly added parts on OXYGENE 3 was not to go back in time, but to add a sense of "now" to his iconic piece of work. Plunging into the environment of OXYGENE with it's highly original dark, moody and at times quite upbeat musical language, Jarre references some of the music from his entire body of work on OXYGENE 3. It's a state-of-the-art recording, embracing both classic and modern ways of music production.
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Jean-Michel Jarre - Chronology (1993/2015) High-Fidelity FLAC Stereo 24bit/48kHz

Artist: Jean-Michel Jarre
Title: Chronology
Genre: Electronica, New Age, Ambient, Synthpop, House, Techno, Avant-Garde, Progressive Electronic
Label: © Sony Music Entertainment
Release Date: 1993/2015
Quality: High-Fidelity FLAC Stereo 48kHz/24bit
Source: Qobuz
Duration: 00:41:51

Chronologie (English: "chronology" – some later reissues use the English spelling) is the eleventh studio album by French electronic musician and composer Jean-Michel Jarre, and was released on Disques Dreyfus (with license to Polydor) in 1993. It is inspired by Stephen Hawking's book A Brief History of Time. "Chronologie Part 4" and "Chronologie Part 5" started out as a composition for the Swiss watch company Swatch. The sound of Chronologie was based on a new wave of electronic dance music that had been developing since the late 1980s. Like Jarre's previous album Waiting for Cousteau, Chronologie charted at Number 11 in the UK charts. The album cover art was created by long-time collaborator Michel Granger.
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